What's next for Banu Mushtaq? An autobiography by year-end
'My autobiography will be ready by December. I've been through a lot, I'll say it there,' she said to much laughter, while speaking to the audience at the Kiran Nadar Museum of Art, on her first visit to Delhi after returning from London with the 2025 International Booker prize.
Mushtaq, however, clarified that the base of her experiences from which she has made literature is not personal; for her patriarchy is the lingua franca of a 'universal pain' and deprivation that she has witnessed in women and the marginalised. 'Men, too, suffer from patriarchal attitudes,' she said, 'but they are not aware of it.'
Mushtaq and Heart Lamp translator Deepa Bhasthi also fielded questions on their reading, writing and translation choices — Mushtaq admitted not having had the time to read recently, while Bhasthi, also a writer, talked of the influence of Russian literature on her works. A major thrust of the discussion was translations. Bhasthi called translations the 'third text', over which neither writer nor the translator could have exclusive claim.
An audience member remarked on the 'justice' delivered to women in Mushtaq's stories with 'little things' and whether equity and fairness were important to her as a writer, even though her stories don't always end on that note.
'In life, people have to deal with society, its norms and injustices. On the other hand, there is the court. True, none of my characters fight legal battles. But you can't come to stories or expect authors to bring relief. I can show the path as I have in some of my stories. I can just hold a mirror to society's face,' said Mushtaq.
Another audience member asked her about facing backlash for her writings and what her 'fears' were. Responding, Mushtaq discussed her concerns about communal tension and societal stereotyping.
'For the longest time, I wasn't considered a writer. Two identities — that I'm Muslim and a woman — dominated the evaluation of my work. Also, the tone in which I write isn't easy. Someone or the other may take me to task. What I write may offend a Muslim or a Hindu,' she said. 'I'm 77 now, I have nothing to lose, I have to keep writing about it.'

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


NDTV
an hour ago
- NDTV
'Mistake': Sadhvi Ritambhara Apologises For 'Earning Money Being Nude' Remark
After sparking outrage with her remark that she feels ashamed to see Hindu women earn money by being nude and performing dirty dances, spiritual leader Sadhvi Ritambhara has said she apologises if anyone has been hurt by her remarks, but she felt she had a right to say what she did because she was surrounded by her loved ones. The Padma Bhushan awardee's discourse at a gathering three months ago has now gone viral in which she says in Hindi, "Hindu women, oh God. I feel ashamed to see them. Will you earn money? Will you earn money by being naked? By doing dirty dances, singing dirty songs? I don't understand how their husbands, their fathers accept this?" "People should lead a life of decency... Women of India, don't mind my saying this..." she adds. Speaking exclusively to NDTV on Friday, the spiritual leader said she believes women play a key role in families and the nation and she was not targeting women, but keeping hope in their strength. "But being unrestrained cannot be called independence. Being undisciplined is not disciplined. This is my nature... When my pain reaches a point, I share it with my loved ones. This is an old video, which has gone viral. I was trying to say that a nation becomes great because of its citizens' behaviour," she said. Asked why such comments were not made for men, Sadhvi Ritambhara added, "If women were hurt by my emotional comments, then I will definitely apologise. But when you are in the middle of your loved ones, you speak thinking you have a right over them. I love those who are shattered, but it hurts when you see unrestrained behaviour like this. This has not been the role of Indians... I am also human, I should not have said what I said, maybe if I had said 'niravaran', or 'nirvastra' or filled with values..." Classical dance, she said, is very good but what does not look good is what is shown in the "so-called reels". "Indecent behaviour does not look good. And if a woman does it or five, 10, 100 do it, all women are tarnished," she said. "What I said was not for all Hindu women. I must have forgotten to say something in the flow of speech. I am an ordinary human, I made a mistake," the spiritual leader added. When young children watch such reels, she said, it poisons their mind and does not let them focus on making their lives better and striving for a good career. "Yes I should not have said the word. I made a mistake. I know the mothers of the country will forgive me... I apologise, but my country knows me," she said.


The Print
3 hours ago
- The Print
Stranded in the desert of pop culture
The rise of science and technology has transformed the way we live and the way we engage with culture. Entertainment is now just a click away. From curated Spotify playlists and YouTube shorts to Netflix recommendations, we are constantly surrounded by algorithm-driven choices that fit neatly into our fast-paced lives. We've taken convenience for granted, and in doing so, culture — once rooted in tradition, lived experiences, and community memory — has been reduced to surface-level aesthetics. Your Turn is a unique section from ThePrint featuring points of view from its subscribers. If you are a subscriber, have a point of view, please send it to us. If not, do subscribe here: Tradition today is increasingly absent from daily life. Songs at weddings, once filled with meaning and memory, have become just another background track. The dhol and algoza have been replaced by speakers and DJs blaring Bollywood remixes. Even the role of music has shifted; no longer a medium of storytelling or shared emotion, it is now about volume, beats, and engagement. Loud, fast, westernised rhythms dominate. Entertainment is customisable, quick, and disposable — a reflection of the broader consumerist culture we inhabit. The Manganiyar community of western Rajasthan stands as a poignant example of this shift. A Muslim folk group known for their innate talent for music, the Manganiyars once held a place of honour in Rajput courts. Their songs echoed through grand events, royal gatherings, and crowning ceremonies. Their music was not entertainment; it was legacy, memory, emotion, and devotion. But today, that legacy stands diluted and is struggling to survive. Once royal performers, the Manganiyars are now mostly reduced to singing for tourists in desert camps and hotels. While a handful of Rajput families still call upon them for special occasions such as childbirths, weddings, and religious festivals, the regular patronage that sustained their dignity and livelihood has shrunk drastically. The transformation is stark and painful. Worse than the loss of income is the loss of dignity. Some Manganiyar families now survive by working under MGNREGA as daily wage labourers. For a community whose identity was once steeped in art, being forced to dig roads to make ends meet is not just an economic blow but a deep cultural wound. Yet, despite this erasure, the community remains determined. Children are still taught the ragas, rhythms, and instruments of their ancestors. They sit with their elders, learning not from apps but through oral tradition. Their art is a gift, one they want to pass on, regardless of how the market values it. They refuse to 'sell out' or remix their music to suit the tastes of modern audiences. They resist commercialization, even when it costs them everything. And it does cost them. There are almost no buyers for pure, authentic Manganiyar music anymore. The generation that grew up on Bollywood dance numbers, EDM beats, and viral remixes no longer connects with the slow, emotive storytelling of folk. The little space that remains for folk performances is in tourist camps, where even there, the Manganiyars are now asked to perform filmy songs, sometimes molding their music to include item numbers just to hold the crowd's attention. This is not just the story of a community. It reflects a broader cultural shift. Rising pop culture and Western influence, along with fast, urban lifestyles, have altered our tastes. We are a generation of quick fixes — fast food, short videos, 30-second songs. Traditional art and cultural engagements are now confined to occasional stage shows, often repackaged as 'experiences' for tourists. Art is no longer about connection or emotion; it's about clicks, likes, and views. People have not only lost touch with their roots — they no longer desire to reconnect with them. The authenticity of cultural expression is dying quietly, replaced by hyper-produced imitations that are easier to digest. If this trend continues, future generations will inherit a remix of culture — a distorted version, passed off as heritage, stripped of context, ritual, and depth. They will call it folk, but it will be far from it. The price of convenience is not just economic. It is existential. When a culture is reduced to aesthetics and tradition becomes a performative act, we lose more than music or memory. We lose identity. The Manganiyars still sing, in fading corners of Rajasthan, in quiet ceremonies, and in their homes. They sing not for fame or fortune, but because their art is their inheritance. But for how long can they hold on? And when they are gone, what will remain — a remix? Bio: Mahima Duggal is a researcher and pursuing her PhD at the Department of Political Science, Panjab University, Chandigarh. She focuses on tourism and sustainable tourism practices through field-based studies in Jaisalmer. These pieces are being published as they have been received – they have not been edited/fact-checked by ThePrint.


India Today
4 hours ago
- India Today
Sudipto Sen on Best Director win at National Awards: Vindication of our 10-year struggle
Director Sudipto Sen won Best Director for 'The Kerala Story' at the 71st National Film Awards. The film sparked nationwide debate and conversation upon its release in 2023. In an exclusive chat with India Today, Sen called the honour a validation of years of research, perseverance, and public support."Naturally, I'm feeling great,' Sen said shortly after the National Awards win. "But I would have been even happier if the film had also received the principal award. Still, it's a vindication of what we set out to communicate.'advertisementStarring Adah Sharma, 'The Kerala Story' was released in 2023 and was met with both overwhelming public support and heated controversy. Despite the polarising discourse, the film went on to become a box office hit. Sen recalled how 'The Kerala Story' started as a modest project but received massive attention and appreciation post-release.'We already got our award in the form of audience blessings. Even two years after release, people are still talking about the film on social media. On OTT platforms, we were in the top 10 for nearly 35 weeks out of 70. That's the kind of love and engagement we witnessed," he film, which focused on the alleged ISIS recruitment model in India, struck a nerve among audiences despite its modest budget and limited marketing."We didn't expect it to become so big. After a decade of research and struggle, this award feels like a reward for that journey," he asked whether the National Award felt like closure following the controversies surrounding the film, Sen acknowledged the initial backlash but insisted that the narrative changed once people watched the film.'Yes, there was controversy in the beginning, but that faded as audiences realised the film wasn't about religion—it was about a very real and serious issue. ISIS's model of recruitment had impacted parts of Europe and America, and we were showing how it had roots in India too, particularly Kerala,' Sen added that 'The Kerala Story' was often mislabelled due to political sensitivities in the country, especially around the word 'Muslim'.'People assumed it was Islamophobic, but it wasn't. Once they saw it, they understood it was about terrorism—not religion. And ironically, the controversy helped us. We didn't need to spend on publicity. People organically found their personal connection to the film.'Sen began working on the project in 2012, and his collaborator from Kerala, Ambika JK, had been involved since 2010. For the director, the award isn't just recognition—it's the culmination of over a decade of hard asked if he had spoken to anyone since the news broke, Sen shared that he had just spoken to actor Adah Sharma, who played the lead has been our biggest inspiration—on and off-screen,' he he celebrated with friends and colleagues, Sen was clearly overwhelmed.'It's a happy moment. We're just grateful,' he signed Kerala Story is currently streaming on Zee5.- EndsMust Watch